Cornfields really are the new hallowed ground (sorry) for fertile new horror. Schools, mental homes, disused unending trucker highways, disowned towns full of cannibals and forests full of the same, all done too often and often moreso with most amentable results. But every since those pesky 'Children Of The Corn' sliced through enormous fields of corn, it seems the one place where a ready imagination plus generous shocks, atmosphere and gore forever grow ripe. This film is pretty excellent, and while I wouldn't place it above the more recent After Dark Original masterpiece 'Husk' nor the 1988 diamond of terror 'Scarecrows' (check both out), it doesn't come too far a season behind. Look out too for welcome appearances by TV and 80s horror movie stalwart Ethan Phillips ('Critters', the Fox Network 'Werewolf' series) as a dodgy priest, plus also Brian McNamara as the sheriff, and previous star of 'Arachnophobia' and regular of many popular TV series like 'NYPD Blue', 'Star Trek', 'The O.C' among others.)
Jaimie Alexander acquits herself with a stong performance as the stranded girl in a small town. She spies a little girl at the petrol station where her car breaks down, a little girl she is destined to meet later, after first being set upon by a blonde reporter, who is herself in town to investigate legends of the townspeople nailing others to crosses to ensure good yearly crop yields. It soon transpires that Alexander's presence was impending to re-raise the long dead preacher, immoblised on a cross in the fields for his crimes. But his followers still exist...and they're expecting him back very soon.
As with any Scarecrow horror I've seen, the atmosphere seeps in from the start, and, like many crop-based horrors, the sunny day means no respite at all from the terror, in direct contrast to most horror films having to be set at night. The billowing fields of corn-rows are as eerie and intimdating as ever, shaking in the breeze, casting shadows all around, and hiding...who knows what. Unsurprisingly the performances are strong, the right side of nutty for the crank-jobs, and easily lends weight a premise that dares to be different, even if won't demand distributor support for putting bums of seats in the current wave of torture porn, bored hoodies and twist-enders.
As day turns to night, the horrific situation impending is more pronounced, and the tension buttons are all cranked up. I should say no more, but see it as another refreshing field of real horror that should be piling into cinemas in the wake of the stuff that chugs up mulitplexes today. The ending itself, such a bugbear in modern horror aswell, is pleasingly apt after such an ordeal. This is one crop ripe for picking, people.